[{"admin":{"added":1592951330000,"created":1312633275000,"id":"publication-6072","indexed":1616539746647,"modified":1312671105000,"processed":1615826073838,"source":"adlib","stream":"fitz-online","uid":"adlib-publication-6072","uuid":"16b7c8dd-a034-3641-b87a-c2f1ae0386e8","version":2},"lifecycle":{"publication":[{"date":[{"value":"1921"}],"place":[{"@link":{"type":"literal"},"name":[{"value":"Paris"}],"summary_title":"Paris"}]}]},"summary_title":"Les \u00e9maux limousins de la fin du XVe si\u00e8cle et de la premi\u00e8re partie du XVIe; \u00e9tude sur Nardon Penicaud et ses contemporains","title":[{"primary":true,"value":"Les \u00e9maux limousins de la fin du XVe si\u00e8cle et de la premi\u00e8re partie du XVIe; \u00e9tude sur Nardon Penicaud et ses contemporains"}],"type":{"base":"publication"}},{"current_page":1,"data":[{"_index":"ciim","_type":"data","_id":"adlib-object-156453","_score":19.10273,"_source":{"admin":{"added":1592970669000,"created":1312637261000,"flag":"Standard Record","id":"object-156453","indexed":1747160606084,"modified":1714475184000,"processed":1747159409017,"source":"adlib","stream":"fitz-online","uid":"adlib-object-156453","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156453","uuid":"35669590-727e-3743-bf39-a50421cd6c98","version":10},"agents":[{"@link":{"note":[{"value":"proprietor of a furnishing showroom and restoration workshop, trading from 1881 under the name Amad\u00e9e Joubert & Son at the Pheasantry, 152 King\u2019s Road, Chelsea. F\u00e9lix probably became its head after the partnership between Henri Charles Ren\u00e9 Joubert and Jules Joubert was dissolved in 1898. After 1914 the showroom closed, and until F\u00e9lix Joubert\u2019s retirement in 1932, the business concentrated on restoration work. He was an extraordinarily versatile and gifted craftsman, who was referred to by J. H. Duveen as the \u2018Chelsea Wizard\u2019. He collected and restored armour and weapons, and also practiced as a sculptor, decorative painter, cabinetmaker, and designer."}],"type":"reference"},"admin":{"id":"agent-207549","uid":"adlib-agent-207549","uuid":"150c3ca3-e7da-3905-999f-0a5eac1aac8b"},"summary_title":"Joubert, Felix (1872\u20131953)"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-154123","uid":"adlib-agent-154123","uuid":"2fef3fa1-e550-35f4-b4de-2ced0eb2272a"},"summary_title":"Virgin Mary"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149696","uid":"adlib-agent-149696","uuid":"c1d7b5bf-63d4-3ba4-a080-9810b80bf16c"},"summary_title":"Christ"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-152235","uid":"adlib-agent-152235","uuid":"abbfd154-1b29-395b-915a-fc47cace0fad"},"summary_title":"Mary Magdalene"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-107563","uid":"adlib-term-107563","uuid":"38dcd825-1de1-3222-82c6-15a95729b5ff"},"summary_title":"enamels"},{"@link":{"type":"reference"},"admin":{"id":"term-125750","uid":"adlib-term-125750","uuid":"2b10ac09-63c3-34ed-87d5-487058c1c344"},"summary_title":"Limoges painted enamels"}],"collection":[{"@link":{"type":"reference"},"admin":{"id":"term-115872","uid":"adlib-term-115872","uuid":"6da1c0ff-a799-3023-9ff4-fe88fbdd54e2"},"summary_title":"Leonard D. Cunliffe"}],"component":[{"materials":[{"note":[{"value":"blue, green, yellow, brownish-mulbery, mauve, a little red,  black and white"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32638","uid":"adlib-term-32638","uuid":"97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b"},"summary_title":"enamel"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}],"name":"Decoration","techniques":[{"description":[{"value":"rectangular copper plaque with arched top, the white preparation enamelled in blue, green, yellow, brownish-mulbery, mauve, a little red,  black and white and gilded. The drawing appears black on the white preparation. The circular jewels are foiled. The surface is slightly rippled and almost mat.The counter-enamel is not visible."}],"note":[{"value":"blue, green, yellow, brownish-mulbery, mauve, a little red,  black and white"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107470","uid":"adlib-term-107470","uuid":"f6217ee1-61ca-3c57-92a1-dd13e97bc77c"},"summary_title":"gilt-metal"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"12.6"},{"dimension":"Width","units":"cm","value":"10.1"}]},"name":"Frame"},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"name":"Plaque"}],"department":{"value":"Applied Arts"},"description":[{"value":"Copper, decorated with polychrome enamels, foiled 'jewels', and gilding"},{"value":"Rectangular, almost flat copper plaque with arched top, the white preparation enamelled in blue, green, yellow, brownish-mulbery, pale purple, a little red,  black and white and gilded. The drawing appears black through the white preparation. The flesh is white over black with a pale mauve wash applied over parts of the faces and limbs.The circular jewels are foiled with presumed silver paillons. The surface is slightly rippled and almost mat.The counter-enamel is not visible.\nThe Virgin Mary is seated in the centre, looking down at the dead Christ who lies across her knees with his right arm hanging down, and his left extended but only partly visible. The Virgin\u2019s  right hand is raised, and she supports Christ\u2019s right shoulder with her left hand. Christ\u2019s left hand is held by Mary Magdalen, who stands on the right holding a jar of ointment in her right hand. St John stands on the left looking towards the others. Both he and the Magdalene are shown three-quarter view with their heads in profile.\nChrist wears a green head band and a brown cloth round his loins. The Virgin has a mulbery halo with gold rays and eight alternately green and blue jewels. She wears a dark blue cloak over a mulbery gown. Mary Magdalene has waist-length pale brown and gold wavy hair, and wears a green turban-like cap, and a pale purple cloak over a green dress. St John has shoulder-length golden hair, and a green halo with six alternately mulberry and blue jewels. wears a mulberry gown and has a pale blue cloth over his right arm. All have white flesh shaded in grey.\nBehind the figures is a niche with a trefoil arch rising from cylindrical columns with carved capitals and bases. The columns are blue and have three jewels on their capitals and two on their bases. The trefoil arch has a jewel on a trefoil on the two angles. The words \u2018O(insert a large n)  OVO AVER\u2019 are inscribed in gold on the wall of the niche. The lower part is scattered with gold dots over a black ground. The area within the trefoil arch is blue.\nThe plaque is set into a gilt-metal frame with a wire rope edge on the front partly covered by teeth folded over from the back which hold it in place. The frame covers the reverse completely and has  a vertically hinged prop, pierced by two groups of three holes. It is inscribed in black on the left B\/55\/L.D.C, and on the right 'igi' underlined, and lower down '615' on a tabula ansata with 'Ic.' (dot above I) above and below"}],"identifier":[{"accession_number":"M.7-1938","primary":true,"type":"accession number","value":"M.7-1938"},{"priref":"156453","type":"priref","value":"156453"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156453","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156453"}],"inscription":[{"description":[{"value":"underlined"}],"location":"on back at top right","method":"hand-written, probably in black Indian ink","transcription":[{"value":"igi"}],"type":"inscription"},{"description":[{"value":"possibly with a V in front of the first Ic."}],"location":"half-way down the right of the back","method":"hand-written, probably in black Indian ink","transcription":[{"value":"'615' on  a tabula ansata inscribed with \u2018Ic.\u2019 (dot above I) above and \u2018Ic.\u2019 below"}],"type":"inscription"},{"location":"on left side of back","method":"hand-written in black","transcription":[{"value":"B\/55\/L.D.C"}],"type":"inscription"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"L.D. Cunliffe Bequest, 1937"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149807","uid":"adlib-agent-149807","uuid":"e699d770-0f16-32bf-b0b1-da62f9118c29"},"summary_title":"Cunliffe, Leonard Daneham"}],"date":[{"earliest":1938,"latest":1938,"value":"1938-02-15"}],"method":{"value":"bequeathed"},"note":[{"value":"Provenance from information in list of objects selected by the Fitzwilliam from Mr Cunliffe\u2019s collection."}]}],"creation":[{"date":[{"earliest":1500,"era":["CE"],"latest":1500,"note":[{"value":"When acquired, the plaque was dated to c. 1480, but it probably dates from around 1500. Its authenticity has been doubted but the degree of damage to its edges suggests that it is probably genuine, but heavily restored."}],"precision":"circa","value":"1500"}],"maker":[{"@link":{"qualifier":"probably workshop of","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-88154","uid":"adlib-agent-88154","uuid":"fb2f6872-99ae-3003-8dd4-953d30c3a7dc"},"summary_title":"Master of the Orl\u00e9ans Triptych"}],"note":[{"value":"Plaques of this arched form were sometimes used as paxes, but few have retained their handle. Others were set into small free-standing frames, or were framed and hung at the head of the owner\u2019s bed, as an image de chevet."},{"value":"The composition is closely related to a Piet\u00e0 in the Hermitage, St Petersburg, which has a similar iconography but with a tau Cross and landscape in the background, and was attributed to the Master of the Orleans Triptych by Marquet Vasselot. (see Documentation). It differs from the Fitzwilliam\u2019s in three other iconographical details: the Magdelene has a jewelled halo, St John is shown three-quarter face instead of in profile, and there is a flower near the lower left corner. Another plaque in the Hermitage has analogous icongraphy and was alsoformerly attributed to the Master of the Orleans triptych. (see Documentation, Rapp\u00e9 and Boulkina, 2005). A plaque of this subject, presumably deriving from a shared source, but much more naively delineated, and with the group in a room with an ogee arch above is in the Louvre, OA 4011 (see Documentation, Baratte, 2000). All four plaques have a Mary Magdalene who wears a turban-like cap, fashionable in the mid to late 15th century, which distinguishes them from another series of plaques on which she it hatless and vaseless. She also appears in this way on the right wing of a triptych by the Master of the Orleans Triptych in the Hermitage (F 275), and in the Crucifixion forming the central panel of the triptych attributed to the workshop of Nardon P\u00e9nicaud at Bourges. This type of headdress went out of fashion by the early sixteenth century but continued to be worn by Mary Magdalene in works of art in which she was not depicted with her hair hanging loosely about her shoulders."},{"value":"The unidentified enameller known as the Master of the Orl\u00e9ans Triptych was named by J.J. Marquet de Vasselot in 1921 after a triptych which had been given to the museum at Orl\u00e9ans in 1825."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106256","uid":"adlib-term-106256","uuid":"1bd8ad44-09c2-3c55-825a-635e463bb56b"},"summary_title":"16th Century, 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M. Joubert, probably F\u00e9lix Joubert (1872\u20131953), The Pheasantry, 152 King\u2019s Road, Chelsea, London, from whom purchased probably on 17 November 1930 for \u00a350 by Leonard. D. Cunliffe (1860\u20131937); bequeathed by him."}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Cf.  p. 88, and p. 249, no. 60, ill. pl. XXI in the Hermitage, St Petersburg, which the author attributes to the workshop of the Master of the Orl\u00e9ans Triptych. Formerly in the Basilewsky collection. Rectangular with rounded top. Unframed","page":"88, 249","type":"reference"},"admin":{"id":"publication-6072","uid":"adlib-publication-6072","uuid":"16b7c8dd-a034-3641-b87a-c2f1ae0386e8"},"summary_title":"Les \u00e9maux limousins de la fin du XVe si\u00e8cle et de la premi\u00e8re partie du XVIe; \u00e9tude sur Nardon Penicaud et ses contemporains"},{"@link":{"notes":"Cf. pp. 122-3, no. 48 (F 273) the plaque in the Hermitage published by Marquet de Vasselot in 1921 (above) illustrated in colour. The plaque is slightly larger than the Fitzwilliam's h. 15, w. 11 cm. Another plaque in the Hermitage is mentioned, but was not considered by the authors to be by the same hand.","page":"122-3","type":"reference"},"admin":{"id":"publication-6117","uid":"adlib-publication-6117","uuid":"11dbf863-8759-3f10-b7ae-107ffcf6fd4d"},"summary_title":"\u00c9maux limousins du Mus\u00e9e national de l'Ermitage de Saint-P\u00e9tersbourg"},{"@link":{"notes":"Cf. p. 52, OA 4011, the author does not attribute the plaque and is a little doubtful of its authenticity","page":"52","type":"reference"},"admin":{"id":"publication-6073","uid":"adlib-publication-6073","uuid":"273632b3-da99-366e-9c3b-efd466467b8e"},"summary_title":"Les \u00e9maux peints de Limoges. Mus\u00e9e du Louvre, D\u00e9partement des objets d'art"},{"@link":{"notes":"Cf. p. 32, no. 6 (F 273; See also Limoges, 2004, no. 48) and p. 33, no. 7 (F 1418). The triptych on which a comparable Mary Magdalene is on the right wing pp. 30-31 no. 5 (F 275).","page":"33","type":"reference"},"admin":{"id":"publication-6919","uid":"adlib-publication-6919","uuid":"8b4a9038-183f-3bc5-8ff1-5233cdf97dbc"},"summary_title":"Limozhskie raspisnye \u0117mali v sobranii \u0116rmitazha\/\u00c9maux peints de Limoges de la collection de l'Ermitage"},{"@link":{"type":"reference"},"admin":{"id":"publication-6186","uid":"adlib-publication-6186","uuid":"d285f449-3ec3-39f8-be77-cd185ea3fe64"},"summary_title":"Painted Enamels of Limoges. 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The skull and bone are white and grey, and the flowers have white dotted petals around yellow and blue foiled centres.\nThe rectangular gilt-metal frame,  has two applied twisted stems with leaf terminals at the top and bottom and five on each the side."}],"identifier":[{"accession_number":"MAR.M.250-1912","primary":true,"type":"accession number","value":"MAR.M.250-1912"},{"priref":"156445","type":"priref","value":"156445"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156445","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156445"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"C.B. 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The jewels are formed by blobs of enamel over silver foil. The reverse has almost clear but cloudy and uneven counter-enamel with many pinholes"}],"note":[{"value":"multi-couche technique"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-108432","uid":"adlib-term-108432","uuid":"a486efc4-a304-3aa3-93bd-528fc7ebaff4"},"summary_title":"New Testament"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper roundel decorated with polychrome enamels, and some jewelling over paillons, in circular gilt-wood frame. The Virgin sits with the Christ Child on her lap on the left in front of the gable end of a building. One king kneels to present a casket while the other two kings stand behind her."},{"value":"Circular very slightly convex copper plaque with a small hole on each side, painted in multi-couche technique in blue, greyish-blue, green, turquoise, pale yellowish-brown, mulberry, black, grey, on a white ground, with  jewelling over silver foil. The Virgin is seated on a wooden stool. She looks downwards, and holds the wide-awake infant Christ on her knee to greet one of the kings, who kneels before him holding out an open casket. A second king stands behind them in the centre, pointing to the right with his right index finger. The third more youthful king stands on the right. Behind the figures is the gable end of a rustic building, and on the right, an area of sky with a star. On the reverse, the copper is visible through the almost clear but cloudy counter-enamel with many pin holes. The plaque is mounted in a circular gilt wood frame with a border of small impressed circles round the top, and on the cavetto, a pricked repeating pattern of elliptical outlines. On accession the back was closed by brown paper, with near the top a small dark red leather suspension tab."}],"identifier":[{"accession_number":"M.39-1904","primary":true,"type":"accession number","value":"M.39-1904"},{"priref":"156425","type":"priref","value":"156425"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156425","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156425"}],"inscription":[{"description":[{"value":"circular paper label printed in a circle in black with the collection name surrounding the lot number in black ink"}],"location":"on brown paper backing of frame","method":"printed in black and hand-written in black ink","transcription":[{"value":"MAGNIAC COLLECTION, printed, 516 in hand-written black ink"}],"type":"label"},{"description":[{"value":"rectangular with blue border forming four shallow lobes"}],"location":"on brown paper backing of frame","method":"hand-written in black ink","transcription":[{"value":"Mr Magniac."}],"type":"label"},{"location":"on brown paper backing near the top","method":"hand-written in pencil","transcription":[{"value":"528"}],"type":"inscription"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Frank McClean Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"},"note":[{"value":"Entry date: 1904"}]}],"creation":[{"date":[{"earliest":1515,"from":{"earliest":1515,"era":["CE"],"latest":1515,"precision":"circa","value":"1515"},"latest":1530,"range":true,"to":{"earliest":1530,"era":["CE"],"latest":1530,"value":"1530"}}],"maker":[{"@link":{"qualifier":"possibly","role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-206155","uid":"adlib-agent-206155","uuid":"a9ea7698-b53b-3e09-9513-ad18afd0846c"},"summary_title":"P\u00e9nicaud workshop"},{"@link":{"qualifier":"possibly","role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-207553","uid":"adlib-agent-207553","uuid":"616b8dcf-7aa2-31c9-aa9b-012c74d905a2"},"summary_title":"Master of the High Foreheads"}],"note":[{"value":"The story of the journey of three wise men from the east to find the newly-born King of the Jews is told in St Matthew\u2019s Gospel, 2, 1-12. The Adoration of the Magi depicts their arrival at Bethlehem to worship the Infant Christ and present to him gifts of gold, frankincense and myrh signifying his royalty, divinity, suffering and death.\nThe small holes on each side, now filled, indicate that the medallion may originally have been intended to be mounted as a hat badge. Busts or  figures of Saints, and small Biblical scenes were popular subjects for these badges, which were worn on the upturned brims of men's hats during the late fifteenth and first half of the sixteenth century. A portrait of Louis XII painted c. 1510-14, in the Royal Collection at Holyrood House, Edinburgh, shows the king wearing a badge decorated with three saints. Several enamelled roundels of about the same size as the Fitzwilliam's, in the Walters Art Museum, the Museum Angewandte Kunst, Vienna, the Mus\u00e9e des Arts d\u00e9coratif, Paris, and the Mus\u00e9e des Beaux-Arts, Limoges  have 'jewelled' borders which make them appear even more likely to have been used in this way.\nThis and several other small plaques of the Adoration of the Magi were derived from either the same manuscript or printed source, or from one or other of a series of more accomplished late fifteenth century plaques attributed to the Monvaerni Master, which include Joseph on the left, the Virgin seated with an alert Christ Child on her lap, a bearded king kneeling to present a rectangular casket, two others standing behind him, of whom one or both are pointing upwards or sideways with one index finger, and an open gable end of a stable in the left background. A rectangular plaque with a slightly curved top in the Mus\u00e9e Municipal de l\u2019Ev\u00each\u00e9, Limoges, provides an approximate date range for the earliest examples because the scene includes on the right of the Biblical group, St John presenting Jean Barton II, Bishop of Limoges, from 1484-1510. and was probably made before the death in 1497 of his uncle and predecessor, Jean I Barton.  For the other plaques attributed to the Monvaerni Master see Documentation, Marcheix, 1967. Dalton attributed the Fitzwilliam\u2019s plaque to \u2018an enameller of the school of Nardon P\u00e9nicaud, and dated it to about 1500. However, the white preparation, only slight deterioration of the blue enamel, and almost clear cloudy counter-enamel suggest that it is more likely to be closer to 1525. The treatment of the heads, and the jewelling round the edges of Mary\u2019s halo and the garments of both figures, seems close in style to those of the Virgin and Gabriel on an unattributed pax of the Annunciation in the Victoria and Albert Museum."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106256","uid":"adlib-term-106256","uuid":"1bd8ad44-09c2-3c55-825a-635e463bb56b"},"summary_title":"16th Century, Early"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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(known as the Colworth Collection), 5th Day, 7 July, p. 138, lot\u00a0516, sold for \u00a333.12.0 to Frank McClean, Tunbridge Wells."}],"objects":[{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-162103","uid":"adlib-object-162103","uuid":"e05e2619-0017-38f8-982d-23070d21e91d"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-126653","uid":"adlib-term-126653","uuid":"38ec5aff-ff75-3732-b28b-2cdc948738a2"},"summary_title":"plaques in frame"}},"summary_title":"plaques in frame"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ. p.138, 5th day, lot 516","page":"138","type":"reference"},"admin":{"id":"publication-5925","uid":"adlib-publication-5925","uuid":"5e8330b4-b645-34d4-88b6-acecc1f61ce6"},"summary_title":"Catalogue of the Renowned Collection of Works of Art, chiefly formed by the late Hollingworth Magniac, Esq. (Known as the Colworth Collection)"},{"@link":{"notes":"Publ., p. 109, no. 63, pl. XXIII, The reference by Dalton to two circular plaques in the Ashmolean Museum, with the Ecce Homo and the Piet\u00e0, presumably the two now described as Christ as Man of Sorrows and Lamentation over the Dead Christ, does not seem to be relevant, other than that the subjects are shown in a simple manner, comparable to this plaque.","page":"109","type":"reference"},"admin":{"id":"publication-4060","uid":"adlib-publication-4060","uuid":"0f6d91a4-87ab-338c-b868-7d56c66bc250"},"summary_title":"Fitzwilliam Museum, McClean Bequest, Catalogue of the Mediaeval Ivories, Enamels, Jewellery, Gems and Miscellaneous Objects Bequeathed to the Museum by Frank McClean, M.A., F.R.S."},{"@link":{"notes":"Publ. p. 121, brief mention; the author likened it to some enamels by the Master of the High Foreheads. Cf. p. 223, no. 25.","page":"223","type":"reference"},"admin":{"id":"publication-6072","uid":"adlib-publication-6072","uuid":"16b7c8dd-a034-3641-b87a-c2f1ae0386e8"},"summary_title":"Les \u00e9maux limousins de la fin du XVe si\u00e8cle et de la premi\u00e8re partie du XVIe; \u00e9tude sur Nardon Penicaud et ses contemporains"},{"@link":{"notes":"Publ. p. 26 ill. 9a, compared with no. 10 on pp. 26-7, a circular medallion in a gilt copper frame, attributed to Nardon P\u00e9nicaud or his workshop c. 1510-20. On the left of the Holy Family is a  kneeling male figure wearing a hooded green gown, who appears to be tonsured and therefore a monk, whom the writer considers may be a donor, instead of Joseph, who is depicted on several other examples of this version of the Adoration of the Magi. The plaque has a dark bluish-grey counter enamel and the blue and manganese enamels on the front are degraded, which suggests that it is several years earlier than the Fitzwilliam's example. It has four holes in the perimeter. The size of the plaque is 6.8 cm and the frame on a covered stand 14 x 12.5 cm.","page":"26-7","type":"reference"},"admin":{"id":"publication-9084","uid":"adlib-publication-9084","uuid":"a4359251-d1f6-36ed-a382-709fba2d7769"},"summary_title":"De figuris et coloribus. Northern and Limoges Enamels (1150-1625). Email uit het Noorden en uit Limoges (1150-1625)"},{"@link":{"notes":"Cf. p. 39, colour illustration of the plaque attributed to the Monvaerni Master in the Mus\u00e9e Municipal de l\u2019Ev\u00each\u00e9 at Limoges.","page":"39","type":"reference"},"admin":{"id":"publication-6112","uid":"adlib-publication-6112","uuid":"1e8336a5-8d19-3816-89cd-2d1cd0929fd8"},"summary_title":"L'art de l'\u00e9mail \u00e0 Limoges\/Limoges, the Art of Enamel"},{"@link":{"notes":"Cf. pp. 157-8,  and  fig. 67, at the Courtauld Institute Gallery, London  where the other comparable plaques are mentioned.","page":"157-8","type":"reference"},"admin":{"id":"publication-200002162","uid":"adlib-publication-200002162","uuid":"c07b0cf3-eeb4-3880-b75f-46f426c53e45"},"summary_title":"The Painted Enamels in the Gambier-Parry Collection"},{"@link":{"notes":"Cf. pp. 24-5, no. 16, a plaque mounted as an image de chevet, atributed to 'Monvaerni', c. 1485-95","page":"24-5","type":"reference"},"admin":{"id":"publication-6021","uid":"adlib-publication-6021","uuid":"6dafbb49-bc39-3d0c-b5ad-634dbead2cf0"},"summary_title":"The Walters Art Gallery, Catalogue of the Painted Enamels of the Renaissance"},{"@link":{"notes":"Cf. p. 14, pl. 3 in the Cleveland Museum of Art, Ohio, and p. 13, pl. 2 in the Mus\u00e9e Municipal de l\u2019Ev\u00each\u00e9 at Limoges, both attributed to the Monvaerni Master","page":"14","type":"reference"},"admin":{"id":"publication-5097","uid":"adlib-publication-5097","uuid":"3f273066-5292-3611-8791-142c76030836"},"summary_title":"Maleremails aus Limoges, Der Bestand des Berliner Kunstgewerbemuseums"},{"@link":{"notes":"Cf. pp. 93-6, no. 43. Inv. no. Kgewm H. 997 Cl. Formerly in the Clemens Collection. This plaque is in a very different style from the others.","page":"93-6","type":"reference"},"admin":{"id":"publication-7040","uid":"adlib-publication-7040","uuid":"3adfdbf4-05a1-311f-88b6-d5f5c591182c"},"summary_title":"Email, Kunst, Handwerk, Industrie"},{"@link":{"notes":"Cf. p. 98, no. 61, a small Adoration plaque framed as a pax in a private collection in Belgium, has iconography comparable to the Fitzwilliam's","page":"96","type":"reference"},"admin":{"id":"publication-6082","uid":"adlib-publication-6082","uuid":"933bba5a-0cd4-3497-ace0-4e67876ceb78"},"summary_title":"\u00c9maux de Limoges XIIe-XIXe si\u00e8cle"},{"@link":{"notes":"p. 28-9, no. 9. Formerly in the M.A. Rosenberg collection, Paris, sold, 1909. Marquet de Vasselot, 1921 (op cit above), p. 224-5, no. 27.","page":"28-9","type":"reference"},"admin":{"id":"publication-7039","uid":"adlib-publication-7039","uuid":"60dd323d-f4f6-3596-ac1d-5a3dd19a0028"},"summary_title":"25 Masterpieces from the Middle Ages"},{"@link":{"notes":"Cf. p. 27, no. 3. Inv. no. \u0424 959. This arched plaque in the Hermitage, though rather crudely drawn by a very different hand, is obviously derived from the same source","page":"27","type":"reference"},"admin":{"id":"publication-6919","uid":"adlib-publication-6919","uuid":"8b4a9038-183f-3bc5-8ff1-5233cdf97dbc"},"summary_title":"Limozhskie raspisnye \u0117mali v sobranii \u0116rmitazha\/\u00c9maux peints de Limoges de la collection de l'Ermitage"},{"@link":{"notes":"Cf. p. 25 and fig. p. 24. This plaque, formerly in the Spitzer Collection, has a third king whose features are obviously African or \u2018moorish\u2019. Its style is more closely related to an arched plaque formerly in the Pringsheim and Marcel von Nemes collections attributed to Nardon Penicaud when sold by Sotheby\u2019s London in 2004, and to an unusual plaque enamelled on silver in the Wallace Collection attributed to school of Jean I Penicaud.","page":"24-5","type":"reference"},"admin":{"id":"publication-7037","uid":"adlib-publication-7037","uuid":"c3e952d4-5ea2-3163-94a8-bd744dae4e83"},"summary_title":"F\u00fchrer durch das Kunstgewerbe-Museum zu Frankfurt am Main"},{"@link":{"notes":"Cf. p. 50, no. 248, unusual in being enamelled on silver, and one of the latest in the series","page":"50","type":"reference"},"admin":{"id":"publication-6083","uid":"adlib-publication-6083","uuid":"09810329-53bf-3713-bc5b-e194f6467063"},"summary_title":"Wallace Collection, Catalogue, Objects of Art, Illustrations"},{"@link":{"notes":"Cf. p. 49, lot 52, attributed to Nardon P\u00e9nicaud, second quarter of 16th century. H. 15.6 cm. 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Cunliffe"}],"component":[{"materials":[{"note":[{"value":"foils (paillons)"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39778","uid":"adlib-term-39778","uuid":"8bd60ed6-968d-3faf-8ad5-b4e4ee9bb245"},"summary_title":"silver"}},{"note":[{"value":"translucent blue, turquoise, green, mulberry, and tan enamels, and opaque red, white, and black enamels"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32638","uid":"adlib-term-32638","uuid":"97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b"},"summary_title":"enamel"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39593","uid":"adlib-term-39593","uuid":"e3e2a3f8-2433-3f63-9bcf-e776644d312d"},"summary_title":"gold"}}],"name":"Decoration","techniques":[{"description":[{"value":"rectangular almost flat copper plaque, painted in black over a white enamel ground, and covered with translucent blue, turquoise, green, mulberry, and tan enamels, and opaque red, white, and black enamels, jewelling over foils, and gilding."}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-106226","uid":"adlib-term-106226","uuid":"194567f2-2bcd-3446-ae31-652386611815"},"summary_title":"painting"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"name":"Plaque"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"30.7"},{"dimension":"Width","units":"cm","value":"14.2"}]},"name":"Inner Frame"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"34"},{"dimension":"Width","units":"cm","value":"17.5"}]},"name":"Outer Frame"}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-108432","uid":"adlib-term-108432","uuid":"a486efc4-a304-3aa3-93bd-528fc7ebaff4"},"summary_title":"New Testament"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper, decorated with polychrome enamels, jewelling over foils, and gilding. Christ, enthroned and crowned with thorns, is mocked by four tormenters. Above the architectural background a pair of putti hold up a shield bearing the initials IHS"},{"value":"Rectangular almost flat copper plaque, painted in black over a white enamel ground, and covered with translucent blue, turquoise, green, mulberry, and tan enamels, and opaque red, white, and black enamels, jewelling over foils, and gilding.                                                                                                            Christ is seated on a tan-coloured throne in the centre. He holds a sceptre in his right hand which is crossed over his left on his lap, and wears a dark mulberry gown, and a green crown of thorns from which scarlet blood trickles down his forehead and neck. He is flanked by two men who are pushing the crown down on his head with rods, and another stands behind him bowing his head, and pressing the crown down with his hands. The man on the right has a blue hose, a turquoise tunic, and a blue cap with a jewelled border. The one on the left has green hose, a grey cap, and a brown armour with three jewelled medallions on the elbows and breastplate, and a blue mail shirt, visible below his waist. The one above has a blue hat and a green tunic with two jewelled buttons or brooches. In the left forground another man kneels, having doffed his hat in mocking subserviance, and rests his right hand on Christ's right arm. He has green hose, a blue tunic with a red jewel on its back, and a turquoise hat with a jewelled edge. In the foreground there is a green tiled floor with a red spot and four white dots in each lozenge-shaped tile. Behind the figures there is a black drape scatered with gold circles with  a curved band of jewelling at the top, dividing them from the architectural setting of two jewelled arches rising from a central capital. In the spandrel of the arch there is a green mask below a blue shield inscribed IHS in gold, held up by two putti who lie horizontally above the arches. Remnants of lavish gilding are visible on the throne, costumes, and arches.  The gilt-metal frame has eighteen rosette-headed rivets at intervals, and is set into a display frame covered in worn red velvet. Its back is covered in red damask and has a hinged damask-covered prop in the middle."}],"identifier":[{"accession_number":"M.9-1938","primary":true,"type":"accession number","value":"M.9-1938"},{"priref":"139849","type":"priref","value":"139849"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139849","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139849"}],"inscription":[{"location":"on front on shield","method":"painted in gold","transcription":[{"value":"IHS"}],"type":"inscription"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-164806","uid":"adlib-agent-164806","uuid":"32ad1dba-2b4e-3170-bad1-91ce6cb808a1"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"L.D. Cunliffe Bequest, 1937"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149807","uid":"adlib-agent-149807","uuid":"e699d770-0f16-32bf-b0b1-da62f9118c29"},"summary_title":"Cunliffe, Leonard Daneham"}],"date":[{"earliest":1938,"latest":1938,"value":"1938-02-15"}],"method":{"value":"bequeathed"},"note":[{"value":"bequeathed 1937"}]}],"creation":[{"date":[{"earliest":1515,"from":{"earliest":1515,"era":["CE"],"latest":1515,"precision":"circa","value":"1515"},"latest":1525,"note":[{"value":"previously 1515-1530 but it should have the same dates as the companion wing, M.8-1938"}],"range":true,"to":{"earliest":1525,"era":["CE"],"latest":1525,"value":"1525"}}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-179444","uid":"adlib-agent-179444","uuid":"ed67bba8-3737-3e75-b79c-5eddbb32b80a"},"summary_title":"workshop of Nardon Penicaud"},{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-105577","uid":"adlib-agent-105577","uuid":"0760ccbc-1239-3a7f-9ad2-4b95d7f1dece"},"summary_title":"Penicaud, Nardon"}],"note":[{"value":"The Crowning with Thorns took place after Jesus had been scourged on Pontius Pilate's orders. He was to the courtyard where he was dressed in a scarlet or purple robe, crowned with thorns, and mocked as King of the Jews (New Testament, Matthew, 27: 27-9; Mark 15: 17-18; and John 19: 2-3). The event was one of those usually included in representations of the Passion of Christ in Art.                                                                                       \nThe composition of this Crowning with Thorns  is almost similar to the right wing of a triptych in the Museo Sacro in the Vatican which lacks the shield bearing the sacred trigram at the top, and has instead one angel with outstretched wings in the spandrel instead of two flying above. The iconography was probably derived from a German engraving or woodcut of the late 15th century. The Christ and kneeling figure on the left, and the shaped edge of the dais are reminiscent of the Crowning with Thorns in a series of twelve illustrating the Passion of Christ by Martin Schongauer (c.1440\/53-91), but the other figures and the architectural setting are completely different. An example of the print of the is in the British Museum, 1895,0915.244.\nThe metal inner frame and the worn red velvet covering the wooden mount are typical of 19th century frames for Limoges painted enamels, applied by restorers such as Charles-Alfred Corplet (1827-94) and Alfred Andr\u00e9 (1839-1919). The crimson damask mount may have been made while it was in the collection of Leonard D. Cunliffe, or possibly after it entered the Fitzwilliam Museum."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-124749","uid":"adlib-term-124749","uuid":"3cb14eef-9414-324c-8abb-f4e5e0d52ff1"},"summary_title":"16th Century, 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(1817-1901); Wyndham Francis Cook (1860\u20131905); Humphrey Wyndham Cook (1893\u20131978); sold Christie\u2019s, 7-10 July 1925, Catalogue of an important collection of objects of art of the Middle Ages and Renaissance, the property of Humphrey W. Cook, Esq., and removed from 8 Cadogan Square, S.W., being a portion of the cel\u00adebrated collection formed by the late Sir Francis Cook, Bart., day 1, second part of lot 205 (with M.8-1938); sold with M.8-1938 to S.J. Phillips for \u00a31312.10s (1250 guineas); Leonard D. Cunliffe (1860-1937), bequeathed by him."}],"objects":[{"@link":{"cascade":true,"note":[{"value":"the two plaques probably formed the wings of the same triptych"}],"role":[{"value":"companion"}],"type":"reference"},"admin":{"id":"object-139848","uid":"adlib-object-139848","uuid":"d0d61e80-5d42-30eb-adc4-79fc60c282e1"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ.  2nd Day, 8 July, p. 47,  second part of lot 205, described as framed  but illustrated unframed with M.8-1938","page":"47","type":"reference"},"admin":{"id":"publication-3234","uid":"adlib-publication-3234","uuid":"85af1f74-585b-30ab-9cd3-a2720662c75c"},"summary_title":"Catalogue of an important collection of objects of art of the Middle Ages and Renaissance, the property of Humphrey W. Cook, Esq., and removed from 8 Cadogan Square, S.W., ... collection ... of the late Sir Francis Cook, Bart., 7-10 July 1925"},{"@link":{"notes":"Cf. p. 129, no. 108, illustrated pl. XXXVI, a comparable plaque forming part of a triptych in the Museo Cristiano in the Vatican, Rome, described as a late work of the workshop of Nardon Penicaud.","page":"129","type":"reference"},"admin":{"id":"publication-6072","uid":"adlib-publication-6072","uuid":"16b7c8dd-a034-3641-b87a-c2f1ae0386e8"},"summary_title":"Les \u00e9maux limousins de la fin du XVe si\u00e8cle et de la premi\u00e8re partie du XVIe; \u00e9tude sur Nardon Penicaud et ses contemporains"},{"@link":{"notes":"Cf. p. 50, S 111, and pl., a comparable plaque forming part of a triptych (the same one described by Marquet de Vasselot)","page":"50","type":"reference"},"admin":{"id":"publication-6077","uid":"adlib-publication-6077","uuid":"b752963f-3a30-378c-94a9-ea129b34d2fb"},"summary_title":"Gli smalti del Museo Sacro Vaticano"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"}],"subjects":[{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-594","uid":"adlib-term-594","uuid":"76cbf0c2-ae02-3fdb-b30b-57dbecb74a2a"},"summary_title":"capital"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-74068","uid":"adlib-term-74068","uuid":"9a5f0ce0-dff9-39d2-999a-c7f3e5c3fccb"},"summary_title":"throne"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-107516","uid":"adlib-term-107516","uuid":"146a0bfc-a677-3f01-8f8a-18d01ec5f2f2"},"summary_title":"shield"},{"@link":{"type":"literal"},"name":[{"value":"capital"}],"summary_title":"capital"},{"@link":{"type":"literal"},"name":[{"value":"throne"}],"summary_title":"throne"},{"@link":{"type":"literal"},"name":[{"value":"shield"}],"summary_title":"shield"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque","title":[{"value":"The Crowning of Christ with Thorns"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-156454","_score":18.5682,"_source":{"admin":{"added":1592970669000,"created":1312637261000,"flag":"Standard Record","id":"object-156454","indexed":1755194558946,"modified":1710851454000,"processed":1755194515997,"source":"adlib","stream":"fitz-online","uid":"adlib-object-156454","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156454","uuid":"11f80f3f-f9d5-301b-89d0-135e7eed04da","version":10},"agents":[{"@link":{"note":[{"value":"2nd Marquess of Ripon and 4th Earl de Grey (1871), London and Studley Royal,  a keen sportsman and crack shot, who was a trustee of the Wallace Collection. He may have purchased the plaques, but they could have been inherited from his father, George Frederick Samuel Robinson (1827-1909); 1st Marquess of Ripon and 3rd Earl de Grey (1859-71), a politician and diplomat, who converted to Roman Catholicism in 1874, and died at Studley Royal."}],"type":"reference"},"admin":{"id":"agent-207552","uid":"adlib-agent-207552","uuid":"859a1816-bf5e-3b20-96c6-cbe4f66f7986"},"summary_title":"Robinson, Frederick Oliver (1852-1923)"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149696","uid":"adlib-agent-149696","uuid":"c1d7b5bf-63d4-3ba4-a080-9810b80bf16c"},"summary_title":"Christ"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-152235","uid":"adlib-agent-152235","uuid":"abbfd154-1b29-395b-915a-fc47cace0fad"},"summary_title":"Mary Magdalene"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-107563","uid":"adlib-term-107563","uuid":"38dcd825-1de1-3222-82c6-15a95729b5ff"},"summary_title":"enamels"},{"@link":{"type":"reference"},"admin":{"id":"term-125750","uid":"adlib-term-125750","uuid":"2b10ac09-63c3-34ed-87d5-487058c1c344"},"summary_title":"Limoges painted enamels"}],"collection":[{"@link":{"type":"reference"},"admin":{"id":"term-115872","uid":"adlib-term-115872","uuid":"6da1c0ff-a799-3023-9ff4-fe88fbdd54e2"},"summary_title":"Leonard D. Cunliffe"}],"component":[{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-109906","uid":"adlib-term-109906","uuid":"cbea03fb-f9ac-3c28-ab2d-d20a955a2b53"},"summary_title":"silver foil"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32638","uid":"adlib-term-32638","uuid":"97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b"},"summary_title":"enamel"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39593","uid":"adlib-term-39593","uuid":"e3e2a3f8-2433-3f63-9bcf-e776644d312d"},"summary_title":"gold"}}],"name":"Decoration","techniques":[{"description":[{"value":"two adjacent narrow rectangular copper plaques enamelled in multicouche technique (Biron Type A) with dark and white layers overlaid by translucent pale and bright blue, green, tan, and brownish-mulberry, and in black, and opaque white, and gilded. The flowers and jewels are backed with lozenge-shaped silver foils (pailons)."}],"note":[{"value":"blue, green, red, tan, brown"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}}]},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"name":"Plaque"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"22.5"},{"dimension":"Width","units":"cm","value":"16.3"}]},"name":"Frame"}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-110523","uid":"adlib-term-110523","uuid":"d1291b77-5525-36c4-9cec-9f651a7a76a9"},"summary_title":"bible"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper, enamelled in polychrome with Mary Magdalene encountering Christ after his resurrection"},{"value":"Two joined narrow slightly convex rectangular copper plaques enamelled over dark and white layers in translucent blue, green, red, tan, mulberry-brown, and opaque white, and gilded  The flowers and jewels are backed with silver foil.                                                                                \nOn the left plaque (A), Mary Magdalene stands in profile to right holding an ointment pot in her left hand and raising its conical lid in her right. She wears a blue and white headscarf which billows out behind her, a mulberry brown dress and a royal blue cloak. Behind her there is a tan-coloured wattle fence with a lychgate on the left. In front of her is half of a tree with a tall narrow trunk and a round top with leaves and flowers with white petals and blue or mulberry centres.                                               \nOn the right panel (B), Christ stands facing three-quarters to the left, raising his right hand. to prevent the approach of Mary Magdalene, and showing the bleeding wound in his hand. Blood also trickles from his side and from the thorn wounds in his head. He has a dark brown cloak held together with a green brooch. In his left hand he holds the staff of a cross with a pennant. Behind him there is a tan wattle fence and to the left, half of a tree matching that on the other plaque.The ground of both plaques is green with numerous plants bearing daisy-like flowers with blue or red centres and white petals. The sky at the top of both panels is closely strewn with gold stars. The counter-enamel on the reverse is semi-translucent dark brown, with uneven concentrations of colour giving a mottled effect.     \nThe rectangular gilt-metal frame has applied ornaments of a twisted stem with a leaf on each end: two on the top and bottom, and three on he sides. The outer frame is of red velvet, extremely worn on the edge. The back of the plaque is covered by a red damask-covered board with a hinged prop in the centre of more recent manufacture."}],"identifier":[{"accession_number":"M.10A & B-1938","primary":true,"type":"accession number","value":"M.10A & B-1938"},{"priref":"156454","type":"priref","value":"156454"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156454","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156454"}],"inscription":[{"description":[{"value":"an octagonal white stick-on label edged by a broad blue line and a narrow blue line"}],"location":"on reverse of both plaques","method":"hand-written in black ink","transcription":[{"value":"E. De Grey"}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"L.D. Cunliffe Bequest, 1937"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149807","uid":"adlib-agent-149807","uuid":"e699d770-0f16-32bf-b0b1-da62f9118c29"},"summary_title":"Cunliffe, Leonard Daneham"}],"date":[{"earliest":1938,"latest":1938,"value":"1938"}],"method":{"value":"bequeathed"},"note":[{"value":"bequeathed 1937"}]}],"creation":[{"date":[{"earliest":1500,"from":{"earliest":1500,"era":["CE"],"latest":1500,"precision":"circa","value":"1500"},"latest":1525,"note":[{"value":"the frame is second half of 19th century"}],"range":true,"to":{"earliest":1525,"era":["CE"],"latest":1525,"value":"1525"}}],"maker":[{"@link":{"qualifier":"workshop of","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-105577","uid":"adlib-agent-105577","uuid":"0760ccbc-1239-3a7f-9ad2-4b95d7f1dece"},"summary_title":"Penicaud, Nardon"}],"note":[{"value":"Mary Magdalene\u2019s meeting in the garden with the risen Christ whom she at first supposes is a gardener is described in the Gospel of St John (20:14-18), and more briefly by St Mark (16:9-10).\n\nThe design may have been derived from more than one printed source. Possibly Martin Schongauer\u2019s Christ appearing to Mary Magdalene, which has a fence and tree in the background but shows Christ with his arm outstretched and Mary Magdalene kneeling with her ointment pot beside her on the ground, and his Resurrection for the position of Christ\u2019s raised hand.  Comparable scenes with a central tree occur in manuscripts, such as a Flemish or northern French Legenda Aurea of c. 1480-1515, in the Fitzwilliam (MS 22, fol. 45 v) .The standing figure of Mary Magdalene might have been influenced by one of a series of forty-eight roundels for use by goldsmiths by Israhel van Meckenhem (1440-1503) after Master ES, which shows her standing holding her jar and wearing a turban-like cap with streamers at the back.\n\nThe plaques can be compared with three other versions of the same subject. One, likewise on two plaques, whose present location is unknown, was formerly in the collection of  Prince Czartoryski, in the Ch\u00e2teau de Goluchow, Poland.This has a tree divided between the two plaques, and a Magdalene who kneels holding her ointment pot in her right hand but it is not by the same enameller. The background is reminiscent of the central panel of a triptych in the Bargello, attributed to the Monvaerni Master (Pseudo Monvaerni) by Marquet de Vasselo, but at present to an anonymous enameller, which features an analogous wattled fence with a lychgate on the left, and a tree in the centre, but different figures of Christ and the Magdalene. A smaller version of the Noli me tangere on one plaque is in the Mus\u00e9e des Arts D\u00e9coratifs, Paris (see Blanc, 2011).                                                                                                           \n On entering the collection the two plaques were attributed to Nardon Penicaud and there seems no reason to change that. The design of the body of Christ and the draping and fastening of his cloak are fairly close to those of the Risen Christ in the right wing of a two-stage triptych attributed to Nardon Penicaud in the Frick Collection."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-124749","uid":"adlib-term-124749","uuid":"3cb14eef-9414-324c-8abb-f4e5e0d52ff1"},"summary_title":"16th Century, Early"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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Royal, Yorkshire; his cousin, Clare Vyner, Esq., Studley Royal, Yorkshire; sold Sotheby's, 19 March 1926, Catalogue of the well-known collection of old English wine glasses, etc. the property of Henry Peech Esq., . . . . A Fine large enamel, Japanese Imari ware . . . the property of Clare Vyner Esq., removed from Studley Royal. From the collection of the late Marquess of Ripon, p. 13, lot 78; sold to S.J. Phillips. 113 New Bond Street,  London, W1, for \u00a3410 on behalf of Leonard D. Cunliffe (1860-1937), 109 Eaton Square, London, and Trelissick, Cornwall;  bequeathed by him"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"type":"reference"},"admin":{"id":"publication-7042","uid":"adlib-publication-7042","uuid":"fbdb694f-29d2-3112-a1bf-3ce1177f5109"},"summary_title":"Objets d\u2019art du Moyen Age et de la Renaissance : Collections du ch\u00e2teau de Goluchow"},{"@link":{"notes":"Cf.  p. 350, no. 194, not illustrated, the plaque in the ch\u00e2teau de Goluchow","page":"350","type":"reference"},"admin":{"id":"publication-6072","uid":"adlib-publication-6072","uuid":"16b7c8dd-a034-3641-b87a-c2f1ae0386e8"},"summary_title":"Les \u00e9maux limousins de la fin du XVe si\u00e8cle et de la premi\u00e8re partie du XVIe; \u00e9tude sur Nardon Penicaud et ses contemporains"},{"@link":{"notes":"Cf. pp. 24-35, 16.4.3,  a triptych, with the risen Christ on the right wing, see illustrations on p. 25 and 35","page":"24-35","type":"reference"},"admin":{"id":"publication-200002180","uid":"adlib-publication-200002180","uuid":"a2294bc4-cc14-3e0f-9aab-728d1027c94e"},"summary_title":"Limoges Painted Enamels, Sixteenth and Seventeenth Centuries"},{"@link":{"notes":"Cf. pp. 40-1, no. 8,  four plaques with arched tops, the last of which depicts the Noli me tangere scene, which although different in details of iconography (e.g. the ointment pot is on the ground), and style, has some features in common, and is attributed to the Penicaud workshop","page":"40-1","type":"reference"},"admin":{"id":"publication-7297","uid":"adlib-publication-7297","uuid":"63470d8f-cfbe-3825-9919-c40c11c83e45"},"summary_title":"\u00c9maux peints de Limoges XVe-XVIIIe si\u00e8cles, la collection du Mus\u00e9e des Arts D\u00e9coratifs"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"}],"subjects":[{"@link":{"type":"reference"},"admin":{"id":"term-102735","uid":"adlib-term-102735","uuid":"9ffebc71-0d53-3435-b13f-9ab850955082"},"summary_title":"prayer"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-108538","uid":"adlib-term-108538","uuid":"795ce314-a9bb-3fcc-9c39-4b671ec72fc3"},"summary_title":"cross"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-101999","uid":"adlib-term-101999","uuid":"3f48e900-1eee-39b3-bb67-6acd9b9e1d62"},"summary_title":"pennant"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-66011","uid":"adlib-term-66011","uuid":"a139886c-fb20-367b-b5aa-bd52177a9c5c"},"summary_title":"fence"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-125796","uid":"adlib-term-125796","uuid":"5a1e9dbf-5375-39eb-b42b-36a19854ad55"},"summary_title":"ointment jar"},{"@link":{"relation":"plant","type":"reference"},"admin":{"id":"term-106795","uid":"adlib-term-106795","uuid":"619c7689-2029-3c57-b0e2-12f5b54bedb8"},"summary_title":"flower"},{"@link":{"relation":"plant","type":"reference"},"admin":{"id":"term-58471","uid":"adlib-term-58471","uuid":"ce00216e-da4e-37b3-974c-c2b6377d6c19"},"summary_title":"tree"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-147448","uid":"adlib-term-147448","uuid":"d3b6b8e7-10cf-3af7-af41-82d020f36b58"},"summary_title":"lychgate"},{"@link":{"type":"literal"},"name":[{"value":"cross"}],"summary_title":"cross"},{"@link":{"type":"literal"},"name":[{"value":"pennant"}],"summary_title":"pennant"},{"@link":{"type":"literal"},"name":[{"value":"fence"}],"summary_title":"fence"},{"@link":{"type":"literal"},"name":[{"value":"ointment jar"}],"summary_title":"ointment jar"},{"@link":{"type":"literal"},"name":[{"value":"flower"}],"summary_title":"flower"},{"@link":{"type":"literal"},"name":[{"value":"tree"}],"summary_title":"tree"},{"@link":{"type":"literal"},"name":[{"value":"lychgate"}],"summary_title":"lychgate"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque","title":[{"value":"Noli me Tangere"}],"type":{"base":"object","type":"OBJECT"}}}],"first_page_url":"?page=1","from":1,"last_page":1,"last_page_url":"?page=1","links":[{"url":null,"label":"« Previous","active":false},{"url":"?page=1","label":"1","active":true},{"url":null,"label":"Next »","active":false}],"next_page_url":null,"path":"","per_page":24,"prev_page_url":null,"to":5,"total":5}]